Pub Date : 2023-03-31DOI: 10.31009/cc.2022.v10.i19.05
Albert Elduque, Joan Fontcuberta
Throughout his work, Catalan artist Joan Fontcuberta (Barcelona, 1955) has playfully reflected on the presumed truth claim of photography and on the possibilities of manipulation that this allows. In this interview, he discusses the technique of superimposition, most notably in spirit photography from the nineteenth century, and then comments on some works from his recent exhibition Monstres, which was held in Fundació Vila Casas in Barcelona from October 2021 to January 2022. In this exhibition, Fontcuberta’s goal was twofold: to reflect on analogue photography as a perishable medium by using either rotten, burnt or devoured stills; and to interrogate the generation of new images by means of artificial intelligence. This dialogue will focus on some series from the exhibition, such as Trauma and Gastròpoda, in which the use of different conceptual and material layers becomes more noticeable, thus shedding new light on the topic of superimposition.
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Pub Date : 2023-03-31DOI: 10.31009/cc.2022.v10.i19.03
S. Solomon
As a visual medium, cinema is an art of the surface. Bodies, objects, and environments are projected before us as two-dimensional images on the flattened surface of the screen, which provides only an impression of depth but which cannot be broached by the audience. Nevertheless, deep focus and 3D technology have sought to immerse the viewer in the world of the film, while film discourse more broadly has railed against ornamentation and superficiality in its bid to assert a certain depth of meaning. This article considers the tensions between surface and depth as they emerge in Aldir Mendes de Souza’s O homem que descobriu o nú invisível (1973), a Brazilian softcore sex comedy that makes particular use of X-ray technology for both serious and voyeuristic ends. Comparing the use of radiography in this film with the artist’s experimental work with X-rays elsewhere, this article interrogates distinctions between high and low culture, and between the literal surfaces and depths of the photographic image.
电影作为一种视觉媒介，是一种表面艺术。身体、物体和环境以二维图像的形式投射在我们面前，呈现在平坦的屏幕表面上，只给人一种深度的印象，而观众无法触及。然而，深度聚焦和3D技术试图让观众沉浸在电影的世界中，而更广泛的电影话语则反对装饰和肤浅，以维护某种意义的深度。本文探讨了Aldir Mendes de Souza的《O homemque descobriu O nú invisível》(1973)中出现的表面和深度之间的紧张关系，这是一部巴西软色情喜剧，特别使用x射线技术来达到严肃和偷窥的目的。本文通过对比影片中x射线摄影的使用与艺术家在其他地方使用x射线的实验作品，探讨了高雅文化与低俗文化之间的区别，以及摄影图像的表面和深度之间的区别。
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Pub Date : 2022-07-20DOI: 10.31009/cc.2022.v10.i18.02
Josep Maria Català Domènech
The contemporary essay film is situated within the deep transformations of cinema that led to post-cinema, just as it arises from the revolution experienced by the classic documentary, now transformed into the post-documentary, whose main axes are subjectivity and thought. Following the ideas of Deleuze and Guattari, the essay film can be considered as a sign of a new image of thought derived from cinema but more complex. The essay mode in general, as a way of thinking, adapts to the complexities of the contemporary world through its fluid, rhizomatic and multidimensional condition. Likewise, based on the hypothesis that the essay form corresponds to a certain mentality anthropologically understood, it results in the existence of a post-subject that is especially evident with the essay film and that confronts the crisis of transcendental subjectivity that has characterized the twentieth-century thought.
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Pub Date : 2022-07-20DOI: 10.31009/cc.2022.v10.i18.04
Lourdes Monterrubio Ibáñez
This article aims to carry out an analysis of the spectatorial position as a thinking space for the contemporary essay film based on the comparative study of two Francophone films: Face aux fantômes (Jean-Louis Comolli and Sylvie Lindeperg, 2009) and Jaurès (Vincent Dieutre, 2012). The dialogism of the essay film, the interpellation to the spectator to produce self-reflection on their position and critical thinking about the images shown, is then generated from the premise of identification. The analysis shows how Face aux fantômes offers an audiovisual thinking process on the mobilization of the gaze of the emancipated spectator theorized by Jacques Rancière, while Jaurès provokes the same reflection from the opposite approach: the fixation of the gaze and the representation of spectatorial passivity. In this way, both films reveal the possibilities of the spectator’s position as an epistemological space for the contemporary essay film.
本文旨在通过对两部法语电影《Face aux fantômes》(Jean-Louis Comolli and Sylvie Lindeperg, 2009)和《jaur》(Vincent Dieutre, 2012)的比较研究，分析当代散文电影的观影地位作为一种思维空间。散文电影的对话，对观众的质询，让他们对自己的立场产生自我反思，对所展示的图像进行批判性思考，这些都是在认同的前提下产生的。分析表明，《Face aux fantômes》为雅克·朗西 (Jacques ranci)提出的解放的观众的目光动员提供了一个视听思维过程，而《jaur》则从相反的角度引发了同样的反思:凝视的固定和观众被动的表现。通过这种方式，两部电影都揭示了观众作为当代散文电影认识论空间的可能性。
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Pub Date : 2022-07-20DOI: 10.31009/cc.2022.v10.i18.06
Lourdes Monterrubio Ibáñez, Bertrand Bacqué
Bertrand Bacqué, Associate Professor at the Haute École d’Art et de Design in Geneva, discusses the work of Pietro Marcello, considered to be one of the most remarkable auteurs of the contemporary essay film and its audiovisual thinking process. His focus consists of the relationship to time, and anachronism as the temporality of memory.
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Pub Date : 2022-07-20DOI: 10.31009/cc.2022.v10.i18.03
Laura Rascaroli
Problematic ideological strategies of in/visibility are played out today around borders by exploiting advanced image-making technologies and hegemonic media discourses that produce “thin” border images lacking in semiotic complexity. This article responds to calls to move beyond the “line in the sand” metaphor by investigating essay films that experiment with a performative relationship with the border. Their “borderwork” is self-reflexive to the point of becoming a form of theory. To elucidate this theorization of the border, I invoke Derrida’s limitrophic method of “thickening” the limit, mediated via Deleuze’s notion of the fold. By comparing three case studies—Armin Linke’s Alpi (2011), Philip Scheffner’s Havarie (2016), and Tadhg O’Sullivan’s The Great Wall (2015)—I interrogate the strategies that essay films employ to operationalize borders. The article is a first attempt at a semiotic classification of film-essayistic border images, and a contribution to the understanding of essay film as limitrophic audiovisual thinking.
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Pub Date : 2022-07-20DOI: 10.31009/cc.2022.v10.i18.05
George Kouvaros
Positioning the essay film as a form of cinematic thinking enables a reconsideration of its different modalities, formal operations and philosophical influences. At the same time, it prompts us to reflect on its engagement with those elements of human experience that mark the limits of thought. Taking Víctor Erice’s La Morte Rouge (soliloquio) (2006) as its focus, this paper considers the ways in which Erice’s film explores elements of personal and collective experience that trigger an undoing of thought. What does the film’s rendition of this undoing imply about the nature of cinema? How do we register its effects in the images and sounds that characterize the director’s body of work?
将散文电影定位为电影思维的一种形式，可以重新考虑其不同的形式、形式操作和哲学影响。与此同时，它促使我们反思它与人类经验中那些标志着思想界限的元素的接触。本文以Víctor Erice的La Morte Rouge (soliloquio)(2006)为重点，考虑Erice的电影探索触发思想毁灭的个人和集体经验元素的方式。这部电影对这种毁灭的演绎暗示了电影的本质是什么?我们如何在导演作品的图像和声音中记录它的效果?
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Pub Date : 2021-12-19DOI: 10.31009/cc.2021.v9.i17.06
Olivia Kristina Stutz
Hybrid color films of the 1920s such as The King of Kings (Cecil B. DeMille, 1927)—that is, films comprising a mix of different historical color processes—are a particularly fruitful resource for the comparison of the silent era’s various color technologies. This article analyzes these cinematic hybridizations and argues that this type of film is much more than the sum of its parts. In embodying a multiplicity of layers of space, time, and color on a literal and metaphorical level, hybrid color films are not only symptomatic of the transformation of the medium in the 1920s but also symbolic of current approaches to film historiography based on media archaeology.
20世纪20年代的混合彩色电影，如《万王之王》(Cecil B. DeMille, 1927)，即混合了不同历史色彩处理的电影，是比较无声时代各种色彩技术的特别丰富的资源。本文分析了这些电影的混杂，并认为这种类型的电影远远超过其部分的总和。混合彩色电影在字面和隐喻层面上体现了空间、时间和色彩的多重层次，它不仅是20世纪20年代媒介转型的征兆，也是基于媒介考古学的现行电影史学方法的象征。
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